Within the hushed atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. His carriage is naturally straight-backed, his limbs defined beneath a plain white T-shirt. During performances, ballet dancers can appear like mighty deities, yet often offstage they are small. Not so Ball, whose tall stature is one reason for his demand for heroic characters and partnering. With delicate traits and intense eyes, there's a hint of a brooding actor about him.
A Seamless Ascent to the Pinnacle
At 31, Ball is experiencing the crest of a career that has progressed smoothly. Raised in Liverpool, he encountered minimal teasing for his childhood interest in ballet. Entering the esteemed training institution at 11, he moved directly into the troupe and was promoted each year, reaching the highest position of principal in 2018. He has relished taking on meaty characters, especially the psychological angst found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
His upcoming featured appearance is in a talk, in an "Evening With" event aiming to offer behind-the-scenes perspectives into a dancer's craft. He will walk the crowd through a part, demonstrating his mental workflow while execution. Yet in more comedic ballets, the test is profound. "A classic ballet is one of the toughest from a skill perspective," he states.
The Psychological Game and Post-Performance Emotions
What about following a performance, when he has succeeded? "It feels pretty good," he admits. "But because I'm trying to extract all the emotion out of it, and get immersed in the character, frequently I do feel embarrassed later. After an intense role I'm always like: God, what must people think?"
In person, Ball is reflective, polite, and quick to laugh at himself. But a choreographer once remarked on a "kind of suffering in him." Is there? "I am very active usually, but I do have a dark side," he reveals. "I kind of enjoy negativity sometimes. I've always felt that negativity has been an instigator for positive change."
Early Drivers and Creative Inspirations
His determination stemmed from youthful setbacks. Not doing well in contests at school made him "driven!" It was fuel to demonstrate he could achieve. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit obsessive," he remembers.
The next challenge is making his own choreography. In his view, "organic movement has value." "Breaking the rules is compelling, but just acting that they’re not a reality any more – I don’t know how far you can go with that." He aims his work to be filled with substance, drawing inspiration from literature, music, and painting.
Close-Up Performance and Private Dynamic
He additionally favors presenting dance in more intimate spaces. "It was just really thrilling," he says of a previous show. "You’re so near to the audience. I felt as if they were realizing: 'That’s a human, and they’re perspiring.'"
Ball has made duets with his partner, fellow principal Mayara Magri. The level of trust between them is clear. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." They are not typically matched on stage at their home company, which is perhaps beneficial. "We’re both quite strong-willed people, so it’s not always hunky dory," he admits. "But I feel like we’re each other’s biggest supporter."
On Social Media and Bodily Perception
On social media, followers can see clips from his projects and images that showcase a athletic form. Does he care that the response can be a bit objectifying? Not particularly. "The body is just what we use, so I don’t feel very protective about it," he explains. He compares it to viewing Michelangelo’s David—an object that can be seen on multiple levels.
Ball describes his younger self as "eager for success." Did it lived up to his hopes? "I feel very aware of how reality is a different thing to the aspirations you had as a child," he reflects. He likely has about decade of performing left. "I suppose in the time to come, I want to be a bit more gentle with myself."
